V Jornada do Núcleo de Estudos Irlandeses da UFSC
A V Jornada do Núcleo de Estudos Irlandeses da UFSC, convida a todos a participar de uma série de palestras pertinentes aos Estudos Literários e Culturais. O evento será no dia 12 de novembro de 2021 e ficará dividido entre duas partes: No período da manhã, das 09h30 às 12h00, e no período da tarde, das 13h00 às 19h00. A Jornada terá transmissão ao vivo no YouTube Channel do PPGI. Junte-se a nós!
Intersections of Irish Literature, Theatre and Technology
📅 12th November 2021
🕤 09:30-19:00 Brazil
💻 Live on PPGI UFSC YouTube Channel
09:30-12:00 (YouTube Channel – Part 1)
13:00-19:00 (YouTube Channel – Part 2)
*This event offers a certificate of attendance. Information about certificates will be given during the talk.
PROGRAMME:
9:30 – Opening – Consul General of Ireland Eoin Bennis; Deputy Consul General Rachel Fitzpatrick; NEI/UFSC staff
10:00 – Lecture 1 – Claire Lynch (Brunel University London): “A typing… not typing. Long pause. A typing again…”: Consoling Technologies in Contemporary Irish Fiction
Chair: Maria Rita Drumond Viana (PPGI/PGET/UFSC)
11:00 – Panel 1: Irish Theatre and Technology
Alinne Fernandes: Creating Radio Drama in Times of Social Distancing: Irish-Brazilian Connections
Andrey Felipe Martins: Labouring and Dancing: Brian Friel’s Melancholic Carnival in Dancing at Lughnasa
Melina Pereira Savi: Pondering (Non)Humanity and Slow Violence in Stacey Gregg’s Override
Chair: Janaina Mirian Rosa (PPGI/UFSC)
12:00 – Lunch break
13:00 – Interview with Irish playwright and director Stacey Gregg
Chair: Alinne Fernandes (PPGI/PGET/UFSC)
14:00 – Panel 2: Northern Ireland in Theatre and Film
Jéssica Soares Lopes: “Look out for the lads”: Masculinity and Violence in Stacey Gregg’s Shibboleth (2015)
Ketlyn Mara Rosa: Making Sense of a Divided Belfast: ’71 and a Sensorial Journey of Embodiment
Fabrício Leal Cogo: Avenida Beira-Mar: a Re-creation of David Ireland’s Cyprus Avenue Re-creation
Chair: Matias Corbett Garcez (DLLE/UFSC)
15:00 – Coffee break
15:10 – Lecture 2 – Barry Houlihan (NUI Galway): Sound and Vision: The Technology of Memory in Contemporary Irish Drama
Chair: Beatriz Kopschitz Bastos (PPGI/UFSC)
16:10 – Panel 3: Contemporary Irish Theatre
Vinicius Garcia Valim: Jack Duggan’s War: Documentary Theatre and Remembrance of the Great War
Jéssica Katerine Molgero Da Rós: “That’s what it’s like for Pavees like me”: Monologues and a New Traveller Subjectivity in Rings, by Rosaleen McDonagh
Larissa Martins Lannes: “How stupid can a father be?”: Writing Guilt and Regret through Stage Directions in Rings
Luana Helena Uessler: Everyday Racism and the New Intercultural Ireland in Bisi Adigun’s Not So Long Ago (2006)
Chair: George Ayres Mousinho (DLLE/UFSC)
17:25 – Coffee break
17:35 – Panel 4: Modern Irish Literature and Theatre
William Weber Wanderlinde: The Different Hells of Denis Johnston’s The Old Lady Says ‘No!’
João Pedro Garcia Diniz Spinelli: The Ideology of Social Ascension in “Jamie Freel and the Young Lady”, by W. B. Yeats
Alison Silveira Morais: Ilustrando Yeats: A tradução intersemiótica de contos selecionados da antologia Fairy Tales of the Irish Peasantry (1888)
Karolline dos Santos Rolim: Os vários retratos de Dorian Gray: quatro histórias do mesmo romance
Chair: Larissa Ceres Lagos (UFOP)
18:50-19:00 – Closing words
Organizers: Alinne Fernandes, Beatriz Kopschitz Bastos, Maria Rita Drumond Viana, Janaina Mirian Rosa
BOOK OF ABSTRACTS/BIOS
Guest speakers:
Claire Lynch is a Professor of English and Irish Literature at Brunel University London. She is the author of two monographs, Irish Autobiography (2009) and Cyber Ireland: Text, Image, Culture (2014). Claire’s personal essays have appeared on BBC Radio 4 and in the Washington Post. Her latest book, Small: On Motherhoods, a work of creative non-fiction, was published in June 2021.
Abstract: The lecture will draw on a series of contemporary Irish novels, charting the way everyday “technological objects”—phones, laptops, computers— do more than simply sit alongside the fictional characters who use them.
When we see “Connell’s face illuminated by the lit display” of a phone in Sally Rooney’s Normal People (2018), we see a moment of intimacy between the characters. When Sinéad Hynes is shown “Googling [in bed]” in Elaine Feeney’s As You Were (2020), we learn so much about the character’s desire for privacy, her realism, her sense of humour. As the boy in Eimear McBride’s A Girl is a Half-Formed Thing (2013) hammers the controls of a computer game, or Anne Enright’s Gina in The Forgotten Waltz manages her extra-marital affair on her smartphone, we see them finding refuge, expression, and intimacy in the company of their endlessly understanding machines. These are the machines that support their users, distract them, comfort them. The console consoles.
Stacey Gregg is a writer, director and performer for stage and screen from Belfast. Most recently she wrote and directed HERE BEFORE which premiered at SXSW and won Best Film at Galway Film Fleadh; she co-directed INSIDE BITCH for the Royal Court Theatre and Clean Break, and wrote and performed HATCHET JINNY at Outburst Queer Arts Festival. She has written extensively for television and her plays are published by Nick Hern Books and Bloomsbury. Her work has toured internationally.
Barry Houlihan is Theatre Archivist at National University of Ireland, Galway. He lectures in Irish Theatre History and Digital Cultures. Barry’s monograph, Theatre and Archival Memory: Irish Drama and Marginalised Histories 1951-1977 is recently published by Palgrave MacMillan. Barry has recently co-edited Shaw and Legacy, a special issue of SHAW: The Journal of Bernard Shaw Studies and has recently curated digital theatre exhibitions on the work of theatre designer Joe Vanek and of the actress Genevieve Lyons. Other writings feature in Irish media such as on RTÉ Brainstorm on topics of Irish theatre, culture, and heritage: https://www.rte.ie/author/921473-barry houlihan/
Abstract: The lecture will investigate the role and the means by which memory is (re)presented and digitally reconstructed in contemporary Irish drama. Focusing on works by Dead Centre Theatre Company, form the Irish Times Theatre Award-winning Lippy to Hamnet, and from Chekhov’s First Play to Beckett’s Room, the company have created spaces of digital and physical encounter with the canon and the archive of Irish drama, as well as with the documented social record of contemporary Ireland. Within the plays are forms of memory, digitally reconstructed and animated for audiences to witness – the dual presence and absence of experience made ‘live’ once more on the stage through the technology of memory.
Panelists:
Alinne Balduino P. Fernandes is a tenured professor at the Federal University of Santa Catarina (UFSC), Vice-Director of UFSC’s Postgraduate Programme in English (PPGI), and Coordinator of both Irish Studies (NEI) and Feminist Studies in Literature and Translation research clusters. She was a Moore Institute Visiting Fellow at NUI Galway in 2017. She is also a translator, dramaturge, and theatre director. Fernandes has translated a number of plays by Irish and Northern Irish playwrights including Marina Carr’s By the Bog of Cats… (published with Rafael Copetti, 2017, and staged by Cia Ludens also in 2017), Mary Raftery’s No Escape (staged by Cia Ludens in 2015), Lady Gregory and Yeats’s Cathleen ni Houlihan (with Maria Rita D. Viana, staged in 2016), Patricia Burke-Brogan’s Eclipsed (staged in 2016-2017), and Christina Reid’s My Name, Shall I Tell You my Name? (staged digitally in 2020). Some of her most recent publications are Artistic Collaborations (special issue of Ilha do Desterro, 71.2, 2018, with Maria Rita Viana & Miriam Haughton,); “Patricia Burke Brogan’s Eclipsed in Brazil: resonances and reflections” (book chapter in Legacies of the Magdalen Laundries, Manchester University Press, 2021); A Virada Cultural nos Estudos da Tradução (Ed. UFSC, forthcoming 2022).
Abstract: In this paper, I will present my ongoing research project titled “Making (Northern-)Irish Radio Drama in Brazil: Reflections on Drama, Translation, and Technologies in Times of Social Distancing”. The project aims to foster the dramaturgical study, translation, and production of Irish and Northern-Irish plays as part of NEI’s soon-to-be-created sound digital archive. As the COVID-19 pandemic, and thus social distancing, prolongs itself, this project seeks to explore methods of artistic expression that are exclusively aural-based as well as suitable for times of social distancing. In this paper, I will focus on the project’s first case study that involves the translation, script writing, rehearsals, and production of Christina Reid’s My Name, Shall I Tell You My Name? (1989). Set in the late 1980s, Reid’s play deals with social isolation due to ageing and imprisonment in times of political and religious bigotry and war, which, in many ways, may resonate with contemporary Brazilian issues. Ultimately, reflecting on the technological developments of both the radio and the internet, with this project I aim to revitalise an art form not much explored in Brazil, such as radio drama.
Andrey Felipe Martins is a PhD candidate at PPGI/UFSC, under the supervision of Dr. Maria Rita D. Viana, a member of NEI/UFSC, and currently a visiting researcher at the University of California, Berkeley. His thesis focuses on the philosophical, aesthetic, and literary continuities between Milton and W.B. Yeats, and analyzes their views of marriage and divorce with emphasis on the psycho sexual substructure of their poetry. His interests include Milton, on whom he has published, Irish literature, Romanticism, and psychoanalysis.
Abstract: Chronicling the outbursts of joy preceding the changes of fortune in the lives of five Donegal sisters, Dancing at Lughnasa (1990) harks back to the 1930s to capture the effects of industrialisation in the fabric of countryside life, where dynamics of work were being quickly revolutionized by the foreign presence of technology. In the same summer in which the family purchases their first radio, the narrator’s uncle returns from Africa, in a significant parallelism that condenses a central paradox of the play: at the same time that modern technology draws a wedge between man and traditional forms of life (“surpassed” modes of production), it is only through the spell created by the radio – an object always on the verge of being fetishized in the play as a “primitive” god – that a different temporality irrupts on the stage. Friel’s jubilant Irish Bacchae are possessed by a rhythm that functions both as a liberating expenditure of bodily energy and as a counterpoint to the mechanical movements put to a productive use in the knitting factory. Informed by Kristeva’s theorization on the signifying process as work and poetic text, I intend to analyse the intertwinement of work, art, and technology in Friel’s play.
Melina Pereira Savi is a CAPES Postdoctoral Research Fellow at PPGI/UFSC. She completed her PhD in 2018, in which she analysed three novels by American author Ursula K Le Guin in light of the current debates on the Anthropocene. In her current research, she uses the ecocritical approach to analyse how specific English and Northern Irish plays tackle the impact of human actions on social and natural landscapes. She has published articles on these subjects and has been teaching courses on ecocriticism at the postgraduate level.
Abstract: In the dystopian future depicted by Stacey Gregg in Override (2013), a pregnant young couple that chooses to live off-the-grid in an increasingly technological world steadily explore the question: what does it mean to be human? Violet, who has been “enhanced” by a type of technology that was at first developed to “fix” disabilities (but was put to other uses in a hyper consumerist society), reveals to her techno-purist partner that she has undergone several augmentation procedures. Mark, himself an administrator and heir to the company that created these augmentations in the first place, overrides Violet’s settings, shutting off in her anything that is not human. What happens next is the depiction of Violet’s transition from being human to a decaying machine, and finally to her existence as virtual reality. Using Rob Nixon’s notion of “slow violence” (2011), I plan to analyse the violence that underlies (1) the imposition of technological products that are deemed essential, which then spurs their massive consumption by the working classes as a means to buy their ways into social mobility and the (2) consequent marginalization and dehumanization that takes place once these impositions are revised for fear of allowing the masses to hold too much power in their hands.
Jéssica Soares Lopes has a BA in English from UFSC and an MA from PPGI/UFSC, in the field of Discourse and Translation Studies in Sociocultural Contexts. Her PhD in progress, in the field of Literary and Cultural Studies, focuses on Irish theatre. She is interested in the areas of language studies and foreign literatures, with a focus on representations of gender and sexuality as/in digital media. She is Member of NuGaL (Núcleo de Estudos de Gênero Através da Linguagem/UFSC) and NEI/UFSC.
Abstract: The recent shift in masculinity in Northern Ireland has taken place within a larger transformation in a global context, in which the demands of feminist movements seemed to see the emergence of a “hybrid variation of ‘Irish’ masculinity” (Edge 197), more suited to the transition implied in – and to the maintenance of control of – the peace process. These changes, however, reach and affect different clusters of Northern Irish society in different ways, as is exemplified by the group of working-class males in Stacey Gregg’s Shibboleth (2015). The present study carries out an analysis of a single character – Mo – and his relation to other characters to shine light on the complex relationships between changes in masculinity and the role of violence in the post-conflict Belfast of Shibboleth, and to illustrate how the play mobilizes the relation between Mo and other characters in order to present such discussions.
Ketlyn Mara Rosa is a Postdoctoral Research Fellow at the Department of Film Studies, Trinity College Dublin, carrying out a research funded by the Irish Research Council on urban conflicts cinema in Northern Ireland and Brazil. She holds a Master’s and Doctoral Degree in English: Linguistic and Literary Studies from UFSC. Her research emphasis is on war cinema, having worked with films that portray WW2, Afghanistan and Iraq Wars, and currently, late twentieth-century urban warfare in Northern Ireland and Brazil, analyzing embodied violence and the possible meanings it conveys in cinematic representations.
Abstract: The issue of the Troubles in Northern Ireland has been massively present in films that represent the contemporary political situation of the country, at times foregrounded as a central point of the narrative or as a historical backdrop for action, thriller films and other genres. The relevance of the continuous conversation about the topic is raised by the appearance of contemporary films that, although years apart from the Good Friday agreement, continue to explore different facets and interpretations of the events. Films such as ’71, directed by Yann Demange in 2014, help establish the flow of dialogue regarding the Troubles, the memories of the past, and their consequences in society. This paper proposes to analyze how the film ’71 conveys images of violence to the body, both British and Irish, and illuminates potential significances related to identity and memory, foregrounding the sensorial perception of the characters as a major catalyst of experiences and meanings. By focusing on a chain of characters whose lives are, in different proportions, touched by violence, the film attempts to represent an urban and sectarian context that relies on unrestrained violent acts from all sides. Such tumultuous environment is portrayed in a way that appeals to the senses, in a deep engagement with the body and the immersive effects of violence. The representation of the violated body and its sensorial spectrum adds to the notion of conflict cinema as an intimate portrayal of trauma and urban warfare.
Fabrício Leal Cogo is a PhD student at the Postgraduate Programme in Translation Studies at UFSC (PGET). His research focuses on theatre translation and translation as re-creation. In his Master’s he re-created the Northern Irish play Cyprus Avenue by David Ireland into Avenida Beira mar. He has been part of Núcleo de Estudos Irlandeses since 2017.
Abstract: This communication will present the results of my master’s research in which a re-creating translation of the play Cyprus Avenue by David Ireland to Brazilian Portuguese was proposed, and it will also present the next step to be cared out in the doctorate process. The action of the play Cyprus Avenue which takes place on Cyprus Avenue, Belfast was relocated to contemporary Brazil. The sectarian violence found in a radical Unionist’s identity construction is re-created in a Brazilian right-wing extremist who, like the source character, believes that an enemy political leader has infiltrated his family disguised as his newborn granddaughter. This suspicion drives this character into a psychotic episode in which he murders his entire family, including the newborn. The methodology of the re-creation, as well as commented excerpts of the final product, will be presented in the communication to reflect on the reasons of the choices made in the process, and as an introductory discussion on staging the re-creation as a next step to be performed in the doctorate process.
Vinicius Garcia Valim is a second-year PhD candidate at PPGI/UFSC. During his MA studies at the same program, he conducted research on British and Irish poetry of the Great War, with an emphasis on national allegiances and loyalties present in such texts. He is currently researching the five volumes of the Field Day Anthology of Irish Writing, seeking to analyse their editing and critical interaction with the texts they reproduce, as well as how the anthology relates to the Irish literary field.
Abstract: The decade of centenaries in Ireland, ranging from 2012 to 2023, has featured numerous initiatives for remembering and re-evaluating a series of major events in Irish history in the early twentieth century. The 2015 play Jack Duggan’s War, by Colin Murphy, a playwright who has frequently worked within the documentary theatre genre, is one such piece that engages with this wider cultural moment and inserts itself in a reappraisal of Irish involvement in the Great War. The play draws on documentary material – the correspondence between an Irish soldier in the war and his sweetheart, as well as a witness statement given to the Bureau of Military History – to create a drama that explores not only Ireland’s participation in the war, but the downplaying of its memory through much of the twentieth century in favour of the Easter Rising as a foundational myth. This presentation, thus, will explore the ways in which the play dramatises opposing 20th century attitudes in the Republic of Ireland toward the Great War and the Easter Rising, especially regarding the different status given to both conflicts.
Jéssica Katerine Molgero Da Rós is a PhD student at PPGI/UFSC currently researching speculative literature. She holds a Master’s degree in Linguistic and Literary Studies, with a focus on film studies and posthumanism, and a BA in English and Corresponding Literature, both from UFSC. She has experience in English literature and film studies, with research interests in the areas of speculative fiction, science fiction, and posthumanism.
Abstract: Rosaleen McDonagh’s Rings (2012) stands as a relevant example of contemporary monologue in Irish theatre. McDonagh uses monologues to explore the characters’ conflicts regarding Traveller culture and disability. Thus, this work is concerned with the role of the monologue form in the construction of a new Traveller subjectivity. Through the analysis of specific lines containing descriptions of the Traveller tradition by the two characters, I explore how the monologues in Rings suggest the characters’ changes of perspective regarding their own lives and their own culture. Norah’s new Traveller subjectivity is constructed as she assumes and adopts the Pavee Princess label as a boxer. The father needs to overcome a masculinity crisis in order to be able to support his daughter’s choices, which challenge the Traveller traditions. Besides that, the relevance of the stage directions is also discussed as responsible for implying movements that add meaning to the content delivered by their monologues. With the development of the characters’ reconstruction of their Traveller subjectivity, it is possible to better explore the play’s importance within contemporary Irish monologues and within the performances concerned with cultural diversity and disability.
Larissa Martins Lannes is a Master’s student at PPGI/UFSC, carrying out research on creative writing in relation to the social isolation brought by the COVID-19 pandemic. Her BA in English: Linguistic and Literary Studies focused on women’s studies and female representation in the media. Her current research focus is grounded on Theatre Studies and employs a practice-based approach towards playwriting as a means to investigate the creative process from a hermeneutic and psychoanalytic perspective. She hopes to advance an applicable methodology for creative studies and help establish Creative Writing as an academic area of research for Brazilian students.
Abstract: Rosaleen McDonagh’s play Rings (2012) employs a simple structure for a rich narrative, with a deeply emotional charge and profound meanings hidden in plain sight. The play presents only two characters — Norah and her father —, who do not interact verbally, but do so on a physical level. A challenge to the traditional Irish Traveller community due to her deafness and disregard for gender rules, Norah’s relationship with her father is strained. Through their monologues, we learn of the father’s pride and Norah’s struggle to have command over her own life despite her hardships. However, an entirely different story is implied through the stage directions by means of actions performed on stage. Gestures, in this sense, refer not only to physical movement but actions that hold particular meaning and bring significance to the interaction between the characters. Although not voiced or directly acknowledged, these gestures are seen by the audience in the event of a performance, or by the reader in the process of reading the play. This essay analyzes the dichotomic relationship between stage directions and dialogue, and the possibility of creating two distinct storylines by conveying meaning both through spoken words and physical communication in theatre.
Luana Helena Uessler is a PhD candidate at PPGI/UFSC. In her MA studies, Luana conducted research on Critical Discourse Analysis, investigating narratives produced by Black Brazilian women and African American women. Luana’s main areas of interest are on the intersections of race, gender, and aesthetics.
Abstract: Arambe Productions was the first African theatre company in Ireland, founded in 2003 in the Celtic Tiger context. The company, founded by Bisi Adigun, opened space for contemporary discussions towards place, race, and racism in Ireland, dramatizing the history of Africa and Africans on the Irish stage, but also tackled the issues of a new, intercultural Ireland. These issues are highly presented in the two-act play Once Upon a Time & Not So Long Ago (2006) – which was first only Once Upon a Time, a project that led the African oral, musical, and theatrical tradition to the Irish stage. The second act of the play, Not so Long Ago, was partly funded by the National Action Plan Against Racism and was indexed to Once Upon a Time in 2006 and aimed at highlighting cultural differences and similarities of African immigrants and Irish people. In this paper, I discuss how the second act of the play, through the dramatization of real-life experiences of African immigrants living in Ireland, depicts everyday racism in early 2000s Ireland.
William Weber Wanderlinde is a second-year PhD candidate at PPGI/UFSC. In his Master’s thesis, he explored the converges between different concepts of Romantic irony and the works of William Blake, more specifically the book Songs of Innocence and of Experience. He is currently researching different editions of Blake’s works, seeking to understand how editorial decisions were shaped or not by current editorial practices, as well as how these editorial decisions have impacted and still impact on Blake’s reception.
Abstract: In my presentation, I will analyze the play The Old Lady Says ‘No!’ (1929) by Denis Johnston, as I did for the final paper of professor Beatriz’s course. In this odd mix of Expressionism, satire, and social critique, Johnston brings references to several different works of literature, in a style which has been compared to that of Modernist writers such as T. S. Eliot. One of the recurring references found in the play is to Dante’s Divine Comedy, especially his Inferno. Indeed, Hell appears in the speeches of several characters. My argument is that Hell, mainly the Dantean Hell, is used by Johnston throughout the play as a means to critique the social environment of the Republic of Ireland of his time. In this sense, Hell is mostly used as a metaphor for the harsh reality of Ireland in the period. However, at the end of the play there is a shift of perspective: the Dantean Hell gives space to the Hell of William Blake, something that helps us understand the ending of the play, as well as gives us a hint of the kind of solution Johnston envisaged for Ireland.
João Pedro G. D. Spinelli is a translator and Master’s student at PGET/UFSC. He has been a creative writer in Portuguese since age 6 and in English since age 9. He is also a songwriter, singer, musician, actor, and music producer. He has been involved in theater groups, performance troupes, rock bands, cultural projects, and original films. He is a published poet and award-winning soundtrack composer, with a focus on audio production. Since 2020, he has been channeling his creative energy exclusively into his academic studies both in the theory and the practice of translation.
Abstract: It has been proposed by Eric Hobsbawm and Terence Ranger in the book The Invention of Tradition (1983) that what is taken as tradition may have been discursively fabricated and divulged with the interest of promoting nationalist political agendas. For David Hopkin, in relation to European folklorists of the nineteenth century, there are questions as to whether this is the case, or whether their influence upon ideology and politics happened in a more indirect way. Though primarily an accomplished poet and playwright, one of these folklorists was Irish writer William Butler Yeats, who published two books of folktales, Fairy and Folktales of The Irish Peasantry (1888) and Irish Fairy Tales (1892). Foregrounding this discussion, I intend to make a reading of W. B. Yeats’s fairy tale “Jamie Freel and The Young Lady”, analyzing specifically how the possibility (or “promise”) of social ascension as it is portrayed within the short story relates to newly expanding industrial capitalist ideologies in late nineteenth century Ireland.
Alison Silveira Morais is a writer and illustrator. He has a Master’s degree from PGET/UFSC, where he also got his BA in Letras Inglês. Alison has been publishing horror and terror short stories in a variety of anthologies since 2016. He has recently organized and participated as an illustrator in the books “O gato e El Diablo” (2019) and “Ojepotá e outros três tristes contos tétricos” (2019), in a partnership between UFSC and Katarina Kartonera.
Abstract: William Butler Yeats (1865-1939) foi um poeta irlandês, dramaturgo, romancistas e um dos autores fundadores do Irish Literary Revival (Renascimento Literário Irlandês) e co-fundador do Abbey Theatre em Dublin. Yeats possui uma trajetória excepcional e trabalhos muito importantes como folclorista e por sua vasta produção de contos de fadas, “resgatando” partes valiosas da cultura irlandesa. O objetivo dessa apresentação será mostrar algumas ilustrações criadas para compor a tradução do livro “Fairy and Folk Tales of the Irish Peasantry” (traduzido como “Contos de fadas da Irlanda”), organizado pela Profa. Dra. Dirce Waltrick do Amarante, seleção de contos e tradução por João Pedro G.D. Spinelli, ilustrado por Alison Silveira Morais, e que vem sendo revisado pela Profa. Dra. Maria Rita Drumond Viana. Cada uma das ilustrações foi criada como uma forma de tradução intersemiótica. A ideia é apresentar algumas dessas obras e explicar as escolhas tradutórias, e tentar responder como as ilustrações dialogam com os contos em termos de conteúdo, estrutura e contexto. Também apresentar parte de um estudo histórico em relação as artes criadas para essa obra no passado, como as de John D. Batten (1892), James Torrance (1907) and P.J Lynch (2019). Por fim, pretendo também contextualizar teoricamente e localizar o campo da tradução intersemiótica (Jakobson, 1959; Holmes, 1988) e, também o caráter técnico de cada obra.
Karolline dos Santos Rolim is a Doctoral student at PGET/UFSC. She has a Masters’ degree also from PGET/UFSC (CAPES scholarship) and a BA in Languages – Portuguese, English and respective Literatures from Faculdade Santa Rita (2011) and in Translation from Universidade Federal de Ouro Preto (2018), with an exchange programme at the Università degli Studi di Napoli L’Orientale (2017/2018). She participates in the Irish Study and Translation and Comparative Literature Groups, promoted by UFSC. She has a scholarship from the Institutional Nucleus for Languages and Translation of the Department of International Relations at UFSC and works mainly with Portuguese, English and Italian.
Abstract: A pesquisa sobre O retrato de Dorian Gray do autor irlandês Oscar Wilde desenvolvida no mestrado constatou que o romance passou por três importantes momentos de revisão que fizeram parte da história de Wilde e que nos últimos anos vem ganhando destaque. Sabe-se que o livro contém vinte capítulos e que foi o que se popularizou na literatura durantes todos esses anos, porém as outras versões passaram a ganhar a atenção tanto do público nacional (brasileiro, ou seja, com as traduções que foram realizadas) quanto internacional. Em 2011 a Belknap Press de Harvard publicou, com a organização de Nicholas Frankel, a versão em datiloscrito do romance, este sendo traduzido por Jório Dauster para o português em 2013. Quanto às traduções, em 2012 foi publicada pela primeira vez a tradução do texto presente nas páginas da Lippincott’s Monthly Magazine. Este trabalho tem como objetivo apresentar a cronologia das revisões pelas quais o romance passou e suas traduções para o português brasileiro.
